Taylor Carman

The terminological boxes into which we press the history of philosophy often obscure deep and important differences among major figures supposedly belonging to a single school of thought. One such disparity within the phenomenological movement, often overlooked but by no means invisible, separates Merleau-Pontys Phenomenology of Perception from the Husserlian program that initially inspired it. For Merleau-Pontys phenomenology amounts to a radical, if discreet, departure not only from Husserls theory of intentionality generally, but more specifically from his account of the intentional constitution of the body and its role in perceptual experience.

Edmund Husserl, the founder of modern phenomenology, always insisted that philosophy is not just a scholarly discipline, but can and must aspire to the status of a ‘strict’ or ‘rigorous science’ (strenge Wissenschaft). Heidegger, by contrast, began his winter lectures in 1929 by dismissing what he called the ‘delusion’ that philosophy was or could be either a discipline or a science as the most disastrous debasement of its innermost essence. To understand what Husserl had in mind, it is important to begin by remembering that the word Wissenschaft has a wider extension than the word ‘science’. German distinguishes the Naturwissenschaften from the Geisteswissenschaften, or human sciences, which Husserl and Heidegger both believed could be perfectly ‘rigorous’ in their own way. Speakers of English, by contrast, tend to draw a threefold distinction among the natural sciences, the social sciences, and the humanities.

This book is probably the best comprehensive treatment of Heidegger’s philosophy of art currently available in English. A little over a third of the volume deals with the most widely read and discussed of Heidegger’s texts concerning art, the 1936 essay, “The Origin of the Work of Art.” The remaining hundred pages or so then go beyond that familiar territory into many other sources, including Heidegger’s lectures on Hölderlin and Nietzsche, his later essays on poetry and language, and his occasional remarks concerning actual paintings and musical and architectural works. Readers who don’t already know will be interested to learn that Heidegger’s comments on contemporary works of art frequently belie his own usual sweeping dismissal of modern art as so much smoothly manipulated technological product. Though he remained preoccupied with what Hölderlin called “the flight of the gods” in modernity and the spiritual “darkening of the world” in the age of technology, Heidegger also expressed admiration for the paintings of Van Gogh, Braque, Klee, and Cézanne, the music of Stravinsky and Carl Orff, the poetry of Rilke, Trakl, Paul Celan, René Char, and Stefan George, and the architecture of Le Corbusier.